Hellblazer: Pandemonium
The audio review:
Jamie Delano returns to his creation John Constantine in Hellblazer: Pandemonium, a graphic novel released to commemorate 25 years of the iconic comic book demon-hunter. Constantine visits Iraq in Delano's plot; he's seduced by an Iraqi government spy and is then roped into investigating a mysterious demonic man, a Djinn, who is only part of the underlying demonic manifestations surrounding the Iraqi military operation.
Delano knows his character well, and it seems he has no trouble penning a Constantine novel again. His writing has a noir aura, as Constantine is well-read, observant, and opinionated - he makes no attempt to quell his raging thoughts. Delano's dialogue is superb, making Constantine into a hard-edged yet endearingly mysterious man; Pandemonium explores the softer side of Constantine's psyche, delving into love and even philosophies of life that are paired well with Jock's hard-lined artwork.
Constantine does deal with demons, but Delano creates a novel that is richer than just the supernatural horrors of war-torn Iraq. Pandemonium has a slight political slant as well, where Constantine, who has dealt with Hell and its requisite demons, is surprised to see the torture and destruction of the desolate war field. It's heavy stuff, and Jock's vast, lonesome desert works wonders at providing the brooding mood.
Delano moves the reader along fast, too; the plot jumps from Britain to Iraq, from war and the demonic Djinn to Hell and a frightening, high-stakes poker game. There's no time for the reader to get bored with Constantine's quips and with the ever-increasing plot twists. Fans of Hellblazer work will have a blast with this, and the tag-team of Delano and Jock create a deliciously hellish experience.
Sunday, February 28, 2010
Bring Night of the Living Dead with you on your iPod Touch/iPhone
According to Shock Till You Drop, ZooVision has released an application that allows you to watch George A. Romero's Night of the Living Dead on your iPod Touch or iPhone, and it also comes with some great zombie-themed wallpaper. If you're bored and looking for a quick horror fix, check out the link here for the film - just download it to your device and you're ready to go! And it's only $0.99!
Saturday, February 27, 2010
Horror Horizon - March 2nd
Some notable releases on DVD March 2:
Last of the Living
Contains Hindsight, Night of the Living Dead, Razor Eaters, and Cruel World.
2012

Prison Girls Collection
"After a deadly virus has turned humankind into flesh-eating zombies, slackers Morgan, Ash, and Johnny spend their days lounging in their skivvies, drifting from one vacant house to another. When the three stumble upon a hot girl who may have a cure for the outbreak, the three decide it's finally time to step up to the plate and save the world--and the girl."Horror Collector's Set Vol. 5
Contains Hindsight, Night of the Living Dead, Razor Eaters, and Cruel World.
2012
"From Roland Emmerich, director of THE DAY AFTER TOMORROW and INDEPENDENCE DAY, comes the ultimate action-adventure film, exploding with groundbreaking special effects. As the world faces a catastrophe of apocalyptic proportions, cities collapse and continents crumble. 2012 brings an end to the world and tells of the heroic struggle of the survivors. Starring John Cusack, Chiwetel Ejiofor, Amanda Peet, Woody Harrelson and Danny Glover."
Bitch Slap

"A modern throwback to the "B" movie exploitation films of the 50's-70's, mixing beautiful women, fast cars, big guns, nasty tongues, outrageous action, and jaw-dropping eye candy. The movie follows three bad girls, a down-and-out stripper, a drug running killer, and a corporate power broker as they arrive at a remote desert hideaway to extort massive booty from an underworld kingpin."
Prison Girls Collection
Contains Women In Fury, Shadow Dead Riot, and Violence in a Women's Prison. Prison exploitation at its finest.
Survival of the Dead official poster released
George Romero's new jaunt into his "Dead" universe premieres on Amazon, Xbox Live and PS3, and VOD on April 30 and hits theaters on May 28th.
Friday, February 26, 2010
New Ugly Americans promo
| Ugly Americans | Mar 17, 10:30pm / 9:30c | |||
| Beautiful World Promo | ||||
| www.comedycentral.com | ||||
| ||||
"Ugly Americans" premieres March 17 on Comedy Central at 10:30/9:30c.
Moon Minis - Revolutionary Road
Revolutionary Road
An audio version of the review for your convenience.
Leonardo DiCaprio and Kate Winslet team up again in this Sam Mendes-directed drama about a '50s family struggling to find interest in their lives besides the white-picket, 9-5 cubicle job rut they're stuck in. While DiCaprio is off making money (and having affairs with office workers), Winslet is stuck inside, doing housework and caring for the children. Their marriage breaking down, they propose a radical change to their lives - moving to Paris for a new experience.
Revolutionary Road is beautiful yet depressing, pitiful and yet somehow likable. Mendes' shot choices are lush and stylish, accenting the day-to-day activities of the couple yet accomplishing increased tension throughout the film. Revolutionary Road is a film that must be taken as a whole; in fact, the pacing is somewhat slow and tedious throughout much of it. If you're looking for something big to happen, you will be sorely disappointed, as much of the film is back-and-forth dialogue. It's a great character study, and the film highlights just how strong the on-screen chemistry (or in this case, the lack of it) is between DiCaprio and Winslet. Fights abound, some more intense than others, but all are emotionally moving.
The only real problem is the slow pacing, yet when one hits the end of the film it seems it has been all worth it. With a disturbing, depressing finale, the viewer can hardly help but be moved by the two hours we've seen of this detached couple. Mendes does a great job, but it's hardly a film I could watch again and again. I expect the film probably worked much better as the novel by Richard Yates than a movie.
Revolutionary Road on Rotten Tomatoes
An audio version of the review for your convenience.
Leonardo DiCaprio and Kate Winslet team up again in this Sam Mendes-directed drama about a '50s family struggling to find interest in their lives besides the white-picket, 9-5 cubicle job rut they're stuck in. While DiCaprio is off making money (and having affairs with office workers), Winslet is stuck inside, doing housework and caring for the children. Their marriage breaking down, they propose a radical change to their lives - moving to Paris for a new experience.
Revolutionary Road is beautiful yet depressing, pitiful and yet somehow likable. Mendes' shot choices are lush and stylish, accenting the day-to-day activities of the couple yet accomplishing increased tension throughout the film. Revolutionary Road is a film that must be taken as a whole; in fact, the pacing is somewhat slow and tedious throughout much of it. If you're looking for something big to happen, you will be sorely disappointed, as much of the film is back-and-forth dialogue. It's a great character study, and the film highlights just how strong the on-screen chemistry (or in this case, the lack of it) is between DiCaprio and Winslet. Fights abound, some more intense than others, but all are emotionally moving.
The only real problem is the slow pacing, yet when one hits the end of the film it seems it has been all worth it. With a disturbing, depressing finale, the viewer can hardly help but be moved by the two hours we've seen of this detached couple. Mendes does a great job, but it's hardly a film I could watch again and again. I expect the film probably worked much better as the novel by Richard Yates than a movie.
Revolutionary Road on Rotten Tomatoes
Wednesday, February 24, 2010
Ugly Americans to premiere on Comedy Central March 17th
A new series created by Devin Clark will be airing on Comedy Central March 17th at 10:30 PM, after a new episode of South Park. Titled Ugly Americans, the cartoon follows Mark Lilly as he attempts to help humans and monsters live in New York City.
From the press release description:
"There are easier tasks than weaning vampires off of blood, socializing land-whales, and housebreaking werewolves, but Mark is up to the challenge. Between his stressful job, a zombie roommate, and a demon ex-girlfriend, Mark's lucky if he can sneak in a few minutes of sleep. But who can sleep when there's a drop-dead gorgeous Mermaid sitting at the bar?"Here's a peek at the series.
| Ugly Americans | Mar 17, 10:30pm / 9:30c | |||
| Sneak Peek | ||||
| www.comedycentral.com | ||||
| ||||
Tuesday, February 23, 2010
American Vampire #1 to be released on March 17th
Vertigo recently released the cover art to American Vampire #1, the new comic series written by Scott Snyder, Stephen King and illustrated by Rafael Albuquerque.
The first issue in the series, shown above, was illustrated by Jim Lee, the founder of WildStorm and notable for his illustrations in the X-Men comic series.
The full article is over here at Vertigo's website, with a short interview with Jim Lee. Look for the first issue of American Vampire to be released by Vertigo on March 17th.
Monday, February 22, 2010
Movie Review - Shutter Island
Shutter Island
I was so damn excited to see this movie. Like, so excited that, when the previews cut out, I felt myself become weak in the knees, giddy with excitement, eyes and ears trained on the screen at all times. Perhaps I psyched myself up so far that no matter what Shutter Island bestowed on me, it could never reach my limitless expectations.
That's not to say that Shutter Island totally failed to intrigue and immerse me after the first few minutes of the film. Nay, in reality, Martin Scorsese had already sucked me in as Leonardo DiCaprio and company round the bend of Shutter Island, complete with violin swells and a gigantic, darkly sweeping score, to find the ominous (and looming) Ashcliffe Hospital. And yet, being so enthralled with the opening, I found myself being consistently let down with each passing moment until the end. Let me explain.
DiCaprio holds the film pretty well playing Teddy Daniels - a gruff, effective federal investigator with a conscience-ridden background - and he pulls off the 50's trenchcoat-wearing detective persona just fine. Mark Ruffalo's pretty solid as well as Daniels' partner Chuck Aule, although he is obviously overshadowed by DiCaprio due mainly to the central focus on Daniels. Daniels and Aule are sent to Shutter Island to apprehend a missing mental patient, who has seemingly disappeared without a trace. In their stay on the island, Daniels and Aule uncover disturbing facts about the facility, with Daniels having other motives besides the exterior excuses he gives.
Scorsese intersperses Daniels' backstory with ongoing plot developments, a nice approach to characterization that will ultimately come back with a vengeance for the viewer later on in the film's twist. It's also done with a style and beauty, through dream-like fugues, that attract the viewer more than a straight-forward flashback would.
The same can be said for the majority of the atmosphere in Shutter Island - Scorsese highlights just how gigantic Shutter Island can be, not just limiting the plot in different parts of the prison but venturing around the lush landscapes of the entire island. As DiCaprio exposes the hidden secrets of the island, so to do we, taking it in with surprise, awe, and an almost voracious appetite.
But as the movie progresses, it becomes more apparent that Scorsese is, perhaps partly in homage, using generic and stereotypical scenarios to terrify the viewer. The venture into the supposedly ghastly Ward C of Shutter Island is mostly what comes to mind here. This block of the mental institution is dedicated to housing the most violent and dangerous of patients, and of course, Daniels and Aule must enter this abyss to discover the truth of Shutter Island. Scorsese's depiction of the ward is dark and dreary, with leaky ceilings, endlessly winding staircases, and dank cells teeming with wandering dangerous individuals. We hear howls, moans, and other spooky sounds as DiCaprio cautiously makes his way through the ward, and the gloomy mood of Daniels is contagious. Yet Scorsese makes little use of the atmosphere he presents, utilizing obvious, hardly spooky "boo" scares to startle the viewer. I don't want to say that it's totally ineffective, because Scorsese does a great job of creating the tension. It's just that, when it comes to making something happen, a disappointing arm-grab or pop-out moment is a real downer. Like I said, maybe it's an homage to old classics with a similar plot. But it just didn't work well.
Another key gimmick that Scorsese uses is exposition dumps. When one really gets down to it, most of the important information in the film is not shown, but told through overly long dialogue encounters between Daniels and other people on the island. At first, it makes sense - Daniels is an investigator, and most of the information he gets should be gleamed from others. But a hefty chunk of the film is devoted solely to characters telling Daniels information. We don't see the more interesting bits; we don't get the action. All we have are people who dump loads of info on us all out once, and it feels like we're a bit cheated.
Without trying to give too much of the film's final twist away, the ending of Shutter Island left a bad taste in my mouth. I had uncovered almost too much of the twist well before we were told (without reading the book), and maybe this is where that sense of expectation comes in. I expected there to be more to it than what there was, especially when the ending was apparent to me much earlier. The film attempts to make the audience believe one theory over another, as well, and this not only didn't do the film any favors, it also left me slightly pissed off. Don't tell me what to think - let me think it on my own. An ambiguous ending is better than being given a solution. If you haven't seen the movie, this might not make a lot of sense, but in attempts to not give away the ending, I have to be somewhat careful with my words.
One must admit, at the finale the film feels much less original than originally expected. It's been done before - for argument's sake, probably not as good as Scorsese does it in Shutter Island. If you can appreciate the film in this respect, it really is a fairly good movie, and left me pretty riveted throughout. It's when you stop to think of what could have been done, what tension was created and the generic ways it was utilized, that Shutter Island becomes a fine, but not fantastic, film.
Shutter Island on Rotten Tomatoes
I was so damn excited to see this movie. Like, so excited that, when the previews cut out, I felt myself become weak in the knees, giddy with excitement, eyes and ears trained on the screen at all times. Perhaps I psyched myself up so far that no matter what Shutter Island bestowed on me, it could never reach my limitless expectations.
That's not to say that Shutter Island totally failed to intrigue and immerse me after the first few minutes of the film. Nay, in reality, Martin Scorsese had already sucked me in as Leonardo DiCaprio and company round the bend of Shutter Island, complete with violin swells and a gigantic, darkly sweeping score, to find the ominous (and looming) Ashcliffe Hospital. And yet, being so enthralled with the opening, I found myself being consistently let down with each passing moment until the end. Let me explain.
DiCaprio holds the film pretty well playing Teddy Daniels - a gruff, effective federal investigator with a conscience-ridden background - and he pulls off the 50's trenchcoat-wearing detective persona just fine. Mark Ruffalo's pretty solid as well as Daniels' partner Chuck Aule, although he is obviously overshadowed by DiCaprio due mainly to the central focus on Daniels. Daniels and Aule are sent to Shutter Island to apprehend a missing mental patient, who has seemingly disappeared without a trace. In their stay on the island, Daniels and Aule uncover disturbing facts about the facility, with Daniels having other motives besides the exterior excuses he gives.
Scorsese intersperses Daniels' backstory with ongoing plot developments, a nice approach to characterization that will ultimately come back with a vengeance for the viewer later on in the film's twist. It's also done with a style and beauty, through dream-like fugues, that attract the viewer more than a straight-forward flashback would.
The same can be said for the majority of the atmosphere in Shutter Island - Scorsese highlights just how gigantic Shutter Island can be, not just limiting the plot in different parts of the prison but venturing around the lush landscapes of the entire island. As DiCaprio exposes the hidden secrets of the island, so to do we, taking it in with surprise, awe, and an almost voracious appetite.
But as the movie progresses, it becomes more apparent that Scorsese is, perhaps partly in homage, using generic and stereotypical scenarios to terrify the viewer. The venture into the supposedly ghastly Ward C of Shutter Island is mostly what comes to mind here. This block of the mental institution is dedicated to housing the most violent and dangerous of patients, and of course, Daniels and Aule must enter this abyss to discover the truth of Shutter Island. Scorsese's depiction of the ward is dark and dreary, with leaky ceilings, endlessly winding staircases, and dank cells teeming with wandering dangerous individuals. We hear howls, moans, and other spooky sounds as DiCaprio cautiously makes his way through the ward, and the gloomy mood of Daniels is contagious. Yet Scorsese makes little use of the atmosphere he presents, utilizing obvious, hardly spooky "boo" scares to startle the viewer. I don't want to say that it's totally ineffective, because Scorsese does a great job of creating the tension. It's just that, when it comes to making something happen, a disappointing arm-grab or pop-out moment is a real downer. Like I said, maybe it's an homage to old classics with a similar plot. But it just didn't work well.
Another key gimmick that Scorsese uses is exposition dumps. When one really gets down to it, most of the important information in the film is not shown, but told through overly long dialogue encounters between Daniels and other people on the island. At first, it makes sense - Daniels is an investigator, and most of the information he gets should be gleamed from others. But a hefty chunk of the film is devoted solely to characters telling Daniels information. We don't see the more interesting bits; we don't get the action. All we have are people who dump loads of info on us all out once, and it feels like we're a bit cheated.
Without trying to give too much of the film's final twist away, the ending of Shutter Island left a bad taste in my mouth. I had uncovered almost too much of the twist well before we were told (without reading the book), and maybe this is where that sense of expectation comes in. I expected there to be more to it than what there was, especially when the ending was apparent to me much earlier. The film attempts to make the audience believe one theory over another, as well, and this not only didn't do the film any favors, it also left me slightly pissed off. Don't tell me what to think - let me think it on my own. An ambiguous ending is better than being given a solution. If you haven't seen the movie, this might not make a lot of sense, but in attempts to not give away the ending, I have to be somewhat careful with my words.
One must admit, at the finale the film feels much less original than originally expected. It's been done before - for argument's sake, probably not as good as Scorsese does it in Shutter Island. If you can appreciate the film in this respect, it really is a fairly good movie, and left me pretty riveted throughout. It's when you stop to think of what could have been done, what tension was created and the generic ways it was utilized, that Shutter Island becomes a fine, but not fantastic, film.
Shutter Island on Rotten Tomatoes
Sunday, February 21, 2010
Moon Minis - Seven Pounds
Seven Pounds
Will Smith helms this drama about a man who does good deeds for people for mysterious reasons. Smith is top-notch, showing yet again that he can carry a film that requires him to be more serious than his other acting roles. In fact, Seven Pounds has some very effective scenes thanks to the direction of Gabriele Muccino, who carries over a similar style from The Pursuit of Happyness.
The only slightly frustrating thing about Seven Pounds is the lack of character motivation for Smith throughout the film. Utilizing breaks in time, the film is designed to reveal the central twist in the final moments of the movie, which does effectively leave the audience somewhat shocked - but only at the risk of alienating viewers from creating a connection with Smith's character.
Otherwise, Seven Pounds is a compelling film, one sure to leave most people in a state of emotional awe. It's hard not to like Will Smith anyway, but the plot of this film will most likely cement Smith as the almighty good guy.
Seven Pounds on Rotten Tomatoes
Will Smith helms this drama about a man who does good deeds for people for mysterious reasons. Smith is top-notch, showing yet again that he can carry a film that requires him to be more serious than his other acting roles. In fact, Seven Pounds has some very effective scenes thanks to the direction of Gabriele Muccino, who carries over a similar style from The Pursuit of Happyness.
The only slightly frustrating thing about Seven Pounds is the lack of character motivation for Smith throughout the film. Utilizing breaks in time, the film is designed to reveal the central twist in the final moments of the movie, which does effectively leave the audience somewhat shocked - but only at the risk of alienating viewers from creating a connection with Smith's character.
Otherwise, Seven Pounds is a compelling film, one sure to leave most people in a state of emotional awe. It's hard not to like Will Smith anyway, but the plot of this film will most likely cement Smith as the almighty good guy.
Seven Pounds on Rotten Tomatoes
Saturday, February 20, 2010
Happy second birthday to The Moon is a Dead World!
I've been really bad at keeping track of this blog's anniversaries, but I've recently just passed two years with this little ol' blog of mine.
It feels great to have stuck with it for so long, and for everyone who reads my posts, I really appreciate your interest and your friendship.
Happy second birthday The Moon is a Dead World, and here's to many more!
Friday, February 19, 2010
Movie Review - The Haunting (1963)
The Haunting
Perhaps its a bit unfortunate, calling myself a horror fan, to say that I have finally watched the original Haunting. Robert Wise's film based on Shirley Jackson's suspenseful novel is a fairly seminal work; as haunted house films go, this one has all the stuff that goes bump in the night plus a little bit more, with a gritty reality to deaths and a reliance on subtle scares rather than explicit ghostly phenomenon.
Wise's direction is molded well from Jackson's original story; what's retained is the emphasis on internal, psychological thrills rather than any observable activity from apparitions. Wise creates camera angles that mimic Hill House's supposedly off-kilter architecture; scenes are shot with disorientation in mind, especially a very confusing, slightly sickening ascent of a spiral staircase. There's also the matter of showing death that Wise skirts around - instead of shocking the audience with a dead body, the camera gives only a inclination of the grisly remains of the body. Most notable is a fantastic and grotesque depiction of a hanging early on in the film, where the camera catches only the dropping lower half of the suicidal woman.
Julie Harris works as Eleanor, hitting on all of the self-conscious qualities that Jackson pens in the book. This is almost done a little too well - using voice-overs to expel her thoughts, Eleanor is quite possibly one of the most annoying main characters, because her weaknesses are too great to number. She has no personality; she is a waif, a plain Jane; and rarely does she ever channel her inner energies into something greater than wishing for something better in life. It's easy to dislike her, which is why Harris gets so much praise from me for her performance; it's the way her character was written. And yet, when Eleanor does explode a few times at those taunting her, like the mysteriously sexy Theo (Claire Bloom), it's a welcome juxtaposition of Eleanor's abilities when she's pushed to the edge. As Eleanor progresses from total dependence to ferocious dissent among her friends, Harris treats the audience to some strong performances.
Still, it's the tedium of how little happens in Hill House that drives the viewer onward. At first, The Haunting feels too grounded in character exposition and dialogue to produce any scares or interest. But as the narrative weaves its way into darker territory, the implicit scares become more crucial to the plot, and therefore much creepier. And though descriptions of the activity might seem benign (banging on the walls, moaning, seeing faces on walls), it's executed so well with sound and time in mind to be very disturbing.
The Haunting on Rotten Tomatoes
Perhaps its a bit unfortunate, calling myself a horror fan, to say that I have finally watched the original Haunting. Robert Wise's film based on Shirley Jackson's suspenseful novel is a fairly seminal work; as haunted house films go, this one has all the stuff that goes bump in the night plus a little bit more, with a gritty reality to deaths and a reliance on subtle scares rather than explicit ghostly phenomenon.
Wise's direction is molded well from Jackson's original story; what's retained is the emphasis on internal, psychological thrills rather than any observable activity from apparitions. Wise creates camera angles that mimic Hill House's supposedly off-kilter architecture; scenes are shot with disorientation in mind, especially a very confusing, slightly sickening ascent of a spiral staircase. There's also the matter of showing death that Wise skirts around - instead of shocking the audience with a dead body, the camera gives only a inclination of the grisly remains of the body. Most notable is a fantastic and grotesque depiction of a hanging early on in the film, where the camera catches only the dropping lower half of the suicidal woman.
Julie Harris works as Eleanor, hitting on all of the self-conscious qualities that Jackson pens in the book. This is almost done a little too well - using voice-overs to expel her thoughts, Eleanor is quite possibly one of the most annoying main characters, because her weaknesses are too great to number. She has no personality; she is a waif, a plain Jane; and rarely does she ever channel her inner energies into something greater than wishing for something better in life. It's easy to dislike her, which is why Harris gets so much praise from me for her performance; it's the way her character was written. And yet, when Eleanor does explode a few times at those taunting her, like the mysteriously sexy Theo (Claire Bloom), it's a welcome juxtaposition of Eleanor's abilities when she's pushed to the edge. As Eleanor progresses from total dependence to ferocious dissent among her friends, Harris treats the audience to some strong performances.
Still, it's the tedium of how little happens in Hill House that drives the viewer onward. At first, The Haunting feels too grounded in character exposition and dialogue to produce any scares or interest. But as the narrative weaves its way into darker territory, the implicit scares become more crucial to the plot, and therefore much creepier. And though descriptions of the activity might seem benign (banging on the walls, moaning, seeing faces on walls), it's executed so well with sound and time in mind to be very disturbing.
The Haunting on Rotten Tomatoes
Tuesday, February 16, 2010
Film Short Review - The Puzzle (2008)
The Puzzle is director Davide Melini's short film, who has worked on the set of Dario Argento's film The Third Mother, which combines a tense music score with equally intense camera angles and light effects. The short, which was shot in one day, stars Cachito Noguera and Alessandro Fornari. A mother refuses to give her son money, works with a puzzle, and finds a surprise for her later that night.
The tension is effectively maintained throughout by the sleek camera angles, shooting images such as a fiery range before transitioning to more observational shots. The camerawork remains a delight throughout, and when the real disturbances begin to happen, lighting kicks in for an added touch of suspense with a creepy shot of the house lights going out.
The story plays out much like a Tales from the Crypt episode might - quick, minimal exposition (here prompted by a photograph on a desk), a set-up for the main event, and then a twist in our conceptions. The twist at the end does feel a little bit dated, however, but it doesn't detract from the experiences leading up to it, which have a certain stylistic flair to them that keep the viewer interested.
The end tries a little too hard to clue the audience in to what's happening via a Saw-styled flashback sequence replete with similar music. While it might be helpful in a longer movie, it feels unnecessary in The Puzzle because of its short length, and in this instance seems to be a lack of faith in the viewer to understand what happened without a wrap-up scene.
Overall though, this short is a nice little thriller that best represents Melini's penchant for strong shot choices. You can check out the short above, and view Melini's website here.
First draft story, tentatively titled "In the Tattoo Parlor"
For the hell of it, I thought I'd post this dramatic story that I've been working on for my Creative Writing class. I'm working on getting the two short film reviews done, so bear with me while I finally, mercifully, finish the brunt of my college workload (for now).
"In the Tattoo Parlor"
Jack sits in the waiting room, the warm sunshine streaming through the colored windows onto his skin. He thinks that this must be what it will be like when gets his tattoo, a noticeable stain on his arm, as if his blood has somehow surfaced in dazzling colors.
The chair is hard and not cushioned, and he’s been waiting for almost a half an hour. He came early because he wasn’t sure where he was going, but now he regrets it; the parlor wasn’t open. Someone let him in anyway while they got the equipment ready for the new day.
To bide time, Jack examines the walls of the studio. Abstract art decorates almost every inch of the drab stucco. Getting up from the chair, he studies one with interest, as if looking at an optical illusion; perhaps if he looks long enough, an image will pop out at him. No image does, and so he moves on to the next one.
There are two skinny lines that intersect in the top right corner of the painting. Blotches of paint seem casually sprayed onto the canvas. He doesn’t feel anything from it, and stops trying to understand the art.
He spies a tribal mask hanging from a hook. It’s decorated with paint and feathers, the eyes cut into alien slits. It looks heavy; he wonders how anyone could wear it. He wonders if wearing it makes the person feel powerful, or embarrassed.
A glass cabinet filled with different body piercings lines the north side of the wall. Jack is surprised at the variety of ways to pierce the skin. He puts his elbow on the cabinet and leans against it, the cool glass supporting his body.
“Get off of that, you’ll break it,” a man with dark-rimmed glasses and an armful of tattoos says to him, entering the room with a stack of books. “That wouldn’t be good, blood everywhere, you know, and then someone would have to clean it up. Technically, we deal with wounds here, but not those kind.”
Jack pushes himself off of the counter. “I’m here for a tattoo.”
“I guessed it. You know, I had you pegged for a tattoo guy. Sure you don’t want a nose piercing? Got a special running on them today, two studs for the price of one, can’t beat that.”
“Just the tattoo, please.”
“You’re polite! Great to see someone who doesn’t storm in here talking shit about how psyched he is to show off his new tat to the hardcore kids.” The man sets his books on the stool and Jack gets a look at the covers – Tattooing for Dummies, A Guide to Piercing.
The man sees Jack’s leery look. “Oh, these. Yeah, brushing up on the basics. I’ve only done one or two tattoos before, so I’ve been studying hard.” He pauses, and Jack feels his stare. “I’m just kidding about that. I’ve done a million.”
The guy’s exactly who Jack pictured: beefy, with shaggy black waves of hair and a scruffy beard. He’s got tattoos of skulls, skeleton bones, topless demon women with hairy vaginas, flames. His shorts are pants that have been cut off at the knee, with strands of fabric hanging down his legs. The man’s also covered both of his legs with tattoos, making him a walking mural, an advertisement of his work. Jack thinks that the man would become a blur of color if he moved his limbs fast enough.
Jack spots one interesting tattoo on the man’s wrist. Foreign symbols wrap around in a circle; they look like a form of cursive. “What’s that mean?” Jack asks.
“The act of feeling.”
It was a good phrase. Perhaps Jack would get it written on his arm.
The chair is hard and not cushioned, and he’s been waiting for almost a half an hour. He came early because he wasn’t sure where he was going, but now he regrets it; the parlor wasn’t open. Someone let him in anyway while they got the equipment ready for the new day.
To bide time, Jack examines the walls of the studio. Abstract art decorates almost every inch of the drab stucco. Getting up from the chair, he studies one with interest, as if looking at an optical illusion; perhaps if he looks long enough, an image will pop out at him. No image does, and so he moves on to the next one.
There are two skinny lines that intersect in the top right corner of the painting. Blotches of paint seem casually sprayed onto the canvas. He doesn’t feel anything from it, and stops trying to understand the art.
He spies a tribal mask hanging from a hook. It’s decorated with paint and feathers, the eyes cut into alien slits. It looks heavy; he wonders how anyone could wear it. He wonders if wearing it makes the person feel powerful, or embarrassed.
A glass cabinet filled with different body piercings lines the north side of the wall. Jack is surprised at the variety of ways to pierce the skin. He puts his elbow on the cabinet and leans against it, the cool glass supporting his body.
“Get off of that, you’ll break it,” a man with dark-rimmed glasses and an armful of tattoos says to him, entering the room with a stack of books. “That wouldn’t be good, blood everywhere, you know, and then someone would have to clean it up. Technically, we deal with wounds here, but not those kind.”
Jack pushes himself off of the counter. “I’m here for a tattoo.”
“I guessed it. You know, I had you pegged for a tattoo guy. Sure you don’t want a nose piercing? Got a special running on them today, two studs for the price of one, can’t beat that.”
“Just the tattoo, please.”
“You’re polite! Great to see someone who doesn’t storm in here talking shit about how psyched he is to show off his new tat to the hardcore kids.” The man sets his books on the stool and Jack gets a look at the covers – Tattooing for Dummies, A Guide to Piercing.
The man sees Jack’s leery look. “Oh, these. Yeah, brushing up on the basics. I’ve only done one or two tattoos before, so I’ve been studying hard.” He pauses, and Jack feels his stare. “I’m just kidding about that. I’ve done a million.”
The guy’s exactly who Jack pictured: beefy, with shaggy black waves of hair and a scruffy beard. He’s got tattoos of skulls, skeleton bones, topless demon women with hairy vaginas, flames. His shorts are pants that have been cut off at the knee, with strands of fabric hanging down his legs. The man’s also covered both of his legs with tattoos, making him a walking mural, an advertisement of his work. Jack thinks that the man would become a blur of color if he moved his limbs fast enough.
Jack spots one interesting tattoo on the man’s wrist. Foreign symbols wrap around in a circle; they look like a form of cursive. “What’s that mean?” Jack asks.
“The act of feeling.”
It was a good phrase. Perhaps Jack would get it written on his arm.
***
“What do you mean, getting a tattoo?” Jack’s mother questioned.
“Just what I said. I want one.”
“No. No, I don’t think so. You’re not old enough anyway.”
“I didn’t know there was an age limit. I just need your permission.”
“You don’t have it. Now help with dinner.” His mother was cutting carrots for their salad. Jack decided he hated salad.
He grabbed a bag of potatoes from under the kitchen cupboard, tore it open, and started peeling potatoes furiously.
“You’re peeling the good parts off too! Knock it off.”
Jack slowed down. He could hear his brother thumping around upstairs to dance music. The only Christmas present Jason had received this year was an old Devo CD found in the used bin of a department store, but he still loved it for what it was. Jack was particularly sick of hearing it this far into January.
“Tell him to turn that down, Mom.”
“He’s fine. Why do you want a tattoo so badly?”
“I don’t know. They’re cool.”
“What did you want it to be?”
“I don’t know.”
“You have to know.”
“I don’t know.”
He knew then he wasn’t getting one, at least not with his mom’s permission. His mom pestered him because she thought he was hiding an answer. But he’d only ever lied to his mother once, when he’d stolen her car late that night last July.
He had no idea what the drive was for the tattoo. It wasn’t to impress girls in his class.
“It’s not to impress girls, is it?”
“I don’t know.”
His mother went back to peeling her carrots diligently; Jason continued stomping on the floor, threatening to send showers of ceiling powder down on the food they were preparing; Jack continued to peel the potatoes the best he knew how. They didn’t discuss the tattoo any further, not when the sun went down and Jack’s father didn’t come home for the second night in a row and his mother locked herself in the bathroom for a two-hour “bath” and Jack slipped out of the house unnoticed.
“Just what I said. I want one.”
“No. No, I don’t think so. You’re not old enough anyway.”
“I didn’t know there was an age limit. I just need your permission.”
“You don’t have it. Now help with dinner.” His mother was cutting carrots for their salad. Jack decided he hated salad.
He grabbed a bag of potatoes from under the kitchen cupboard, tore it open, and started peeling potatoes furiously.
“You’re peeling the good parts off too! Knock it off.”
Jack slowed down. He could hear his brother thumping around upstairs to dance music. The only Christmas present Jason had received this year was an old Devo CD found in the used bin of a department store, but he still loved it for what it was. Jack was particularly sick of hearing it this far into January.
“Tell him to turn that down, Mom.”
“He’s fine. Why do you want a tattoo so badly?”
“I don’t know. They’re cool.”
“What did you want it to be?”
“I don’t know.”
“You have to know.”
“I don’t know.”
He knew then he wasn’t getting one, at least not with his mom’s permission. His mom pestered him because she thought he was hiding an answer. But he’d only ever lied to his mother once, when he’d stolen her car late that night last July.
He had no idea what the drive was for the tattoo. It wasn’t to impress girls in his class.
“It’s not to impress girls, is it?”
“I don’t know.”
His mother went back to peeling her carrots diligently; Jason continued stomping on the floor, threatening to send showers of ceiling powder down on the food they were preparing; Jack continued to peel the potatoes the best he knew how. They didn’t discuss the tattoo any further, not when the sun went down and Jack’s father didn’t come home for the second night in a row and his mother locked herself in the bathroom for a two-hour “bath” and Jack slipped out of the house unnoticed.
***
“Are you ready?”
“For what?”
“Your tattoo. The beginning of your life as a new man. What’s your name, anyway?”
Jack tells him. He wonders what it will be like to be a new man, to be a man at all. He thinks that he’s barely started his life.
“I’m Kevin. It’s nice to meet you.” Kevin taps his arm, where a skull tattoo blends into a colorful image of a baby. “Every tattoo changes you.”
Jack doesn’t know what this means. A tattoo is a tattoo, he thinks. There should be no philosophy behind it. It’s just a picture on skin, a fairly new medium of art. “I bet,” he responds, because he does not know what to say.
Kevin’s eyes meet Jack’s. “How old are you?” Kevin’s blue eyes shine, and Jack pretends to see himself in them. Jack tells himself there’s no deep connection hidden within their stares, the strands of their consciousness do not intertwine, they do not know each other, they will not know each other. Kevin is just the tattoo-er, Jack the tattoo-ee, and there will never be a connection deeper than the needles that pierce his skin.
“Nineteen.”
“You’re physically old enough, then.”
Jack speaks his assent. “Why?”
“It doesn’t matter. Where’s the thing going?”
“Forearm.”
“Noticeable, then.”
Jack feels Kevin’s probing questions in his gut. Is it standard procedure to question the costumer? He hopes not. He desperately wants Kevin to ask the reason for the tattoo.
The sunlight dances in and out of the window as clouds move across it. Customers have yet to cross through the doorway. Time is carrying on, Jack realizes. It is almost time for the big event. He swears the abstract art flickers and moves in the corner of his eye.
“For what?”
“Your tattoo. The beginning of your life as a new man. What’s your name, anyway?”
Jack tells him. He wonders what it will be like to be a new man, to be a man at all. He thinks that he’s barely started his life.
“I’m Kevin. It’s nice to meet you.” Kevin taps his arm, where a skull tattoo blends into a colorful image of a baby. “Every tattoo changes you.”
Jack doesn’t know what this means. A tattoo is a tattoo, he thinks. There should be no philosophy behind it. It’s just a picture on skin, a fairly new medium of art. “I bet,” he responds, because he does not know what to say.
Kevin’s eyes meet Jack’s. “How old are you?” Kevin’s blue eyes shine, and Jack pretends to see himself in them. Jack tells himself there’s no deep connection hidden within their stares, the strands of their consciousness do not intertwine, they do not know each other, they will not know each other. Kevin is just the tattoo-er, Jack the tattoo-ee, and there will never be a connection deeper than the needles that pierce his skin.
“Nineteen.”
“You’re physically old enough, then.”
Jack speaks his assent. “Why?”
“It doesn’t matter. Where’s the thing going?”
“Forearm.”
“Noticeable, then.”
Jack feels Kevin’s probing questions in his gut. Is it standard procedure to question the costumer? He hopes not. He desperately wants Kevin to ask the reason for the tattoo.
The sunlight dances in and out of the window as clouds move across it. Customers have yet to cross through the doorway. Time is carrying on, Jack realizes. It is almost time for the big event. He swears the abstract art flickers and moves in the corner of his eye.
***
“You’re drunk.”
“You’re not.”
Jack sat in the living room of Jess’ ramshackle house. The springs of the couch were cutting into his ass and the stuffing was clinging to his clothes like bubbles in a bath. Smoke wafted through the air, giving everything a haze that Jack enjoyed looking through. The whole world seemed coated in such fog. The ends of their cigarettes were the only lights in the room, and Jack could only be sure of Jess’ position because of the embers.
Other than those opening words, they had sat in silence after Jess had let Jack into the house. He had pounded on her door hard enough to get the next door neighbor’s dog barking, but no lights had gone on in Jess’ house. There was no one to turn them on but Jess, and she liked to live in the dark these days.
Jess put her cigarette out on the couch and Jack lost sight of her. “It’s warm.”
“Cold for July.” Jack put his stub out too, in the ashtray on the three-legged coffee table.
“Maybe. What do you want?”
“My dad didn’t come home again.”
“Neither did mine.” Jack felt the weight on the cushion shift and knew Jess had stood up.
“It’s different.”
“Yeah.”
Jack didn’t know what to say. “How’s he been?”
“Okay.”
Jack could now see an outline of her in the moonlit window. Her head was scrunched forward, staring avidly into the sky. “What does okay stand for? Is that some sort of code?”
“I don’t know.”
“Haven’t you visited him lately?”
“Yeah, I have. He looks the same as always – dying.” There was no sharp tone to her voice, only truth, as if she’d said it aloud to herself in rehearsal many times before.
“Did they tell you he’s dying?”
“They don’t tell me anything.”
“Do you ask?”
Jess raised her arm to her forehead. She looked like she was posing for a magazine, but the only ones Jack could think of were sad ones. “I don’t have to. He’s all shriveled and dehydrated. He can barely see me. Sometimes I wish I were just an orderly visiting him.”
She stopped but Jack knew she wasn’t finished. He let her go on.
“I wish I didn’t know him. I wish we weren’t family. I pretend I’m just a worker at the hospital and when he dies, I’ll just have to clean the sheets and work on the next patient.”
The stairs creaked, the crickets chirped outside. The night was a roller coaster. Jess was lost in moonlight, Jack in the darkness of the living room, and they both didn’t have a father. Maybe that was the only reason they stayed with each other.
“You’re drunk, Jess. Go to bed. I’ll let myself out.”
“I know. Okay. Okay.”
Jack hadn’t forgotten about what he wanted to talk to Jess about. But there was never any room for his thoughts when Jess’ were forever with her father. That made two of them.
“You’re not.”
Jack sat in the living room of Jess’ ramshackle house. The springs of the couch were cutting into his ass and the stuffing was clinging to his clothes like bubbles in a bath. Smoke wafted through the air, giving everything a haze that Jack enjoyed looking through. The whole world seemed coated in such fog. The ends of their cigarettes were the only lights in the room, and Jack could only be sure of Jess’ position because of the embers.
Other than those opening words, they had sat in silence after Jess had let Jack into the house. He had pounded on her door hard enough to get the next door neighbor’s dog barking, but no lights had gone on in Jess’ house. There was no one to turn them on but Jess, and she liked to live in the dark these days.
Jess put her cigarette out on the couch and Jack lost sight of her. “It’s warm.”
“Cold for July.” Jack put his stub out too, in the ashtray on the three-legged coffee table.
“Maybe. What do you want?”
“My dad didn’t come home again.”
“Neither did mine.” Jack felt the weight on the cushion shift and knew Jess had stood up.
“It’s different.”
“Yeah.”
Jack didn’t know what to say. “How’s he been?”
“Okay.”
Jack could now see an outline of her in the moonlit window. Her head was scrunched forward, staring avidly into the sky. “What does okay stand for? Is that some sort of code?”
“I don’t know.”
“Haven’t you visited him lately?”
“Yeah, I have. He looks the same as always – dying.” There was no sharp tone to her voice, only truth, as if she’d said it aloud to herself in rehearsal many times before.
“Did they tell you he’s dying?”
“They don’t tell me anything.”
“Do you ask?”
Jess raised her arm to her forehead. She looked like she was posing for a magazine, but the only ones Jack could think of were sad ones. “I don’t have to. He’s all shriveled and dehydrated. He can barely see me. Sometimes I wish I were just an orderly visiting him.”
She stopped but Jack knew she wasn’t finished. He let her go on.
“I wish I didn’t know him. I wish we weren’t family. I pretend I’m just a worker at the hospital and when he dies, I’ll just have to clean the sheets and work on the next patient.”
The stairs creaked, the crickets chirped outside. The night was a roller coaster. Jess was lost in moonlight, Jack in the darkness of the living room, and they both didn’t have a father. Maybe that was the only reason they stayed with each other.
“You’re drunk, Jess. Go to bed. I’ll let myself out.”
“I know. Okay. Okay.”
Jack hadn’t forgotten about what he wanted to talk to Jess about. But there was never any room for his thoughts when Jess’ were forever with her father. That made two of them.
***
“I just need you to fill out some paperwork,” Kevin says, passing Jack a sheet of paper.
Jack studies it. There are words like “cautionary,” “risks,” “lawsuit,” and other forms of legalese that Jack knows nothing about. “What’s it for?”
“It’s just to protect against anything that we could possibly be sued for. You know, legal issues. You’ve heard about people suing because their coffee was too hot, right? Same deal.”
Jack signs it, trusting in Kevin’s skill and the establishment itself. He knows the horror stories.
“Thanks, man. We’ll take you into the back room and get you all set up. Wait here.” Kevin moves from behind the counter and disappears into the back of the parlor.
Jack waits. A couple comes in: a blonde, dreadlocked woman with a bull nose ring and a bald-headed man with tattoos covering most of his scalp. Jack smiles, but they turn away from him and skulk in the corner.
He imagines this man is his dad. Kevin had said that tattoos change a person; maybe they also make them look younger, leaner, and more threatening. He knows it’s not possible, because the bald-headed man is much too short to be his father. The guy’s legs are too stubby and his knees have taken on a swelling that resembles Osgood-Schlatter disease, a problem Jason had been diagnosed with a few years ago.
Jack wonders where his father could be. He can’t make a proper identification of the bald man without seeing the rest of his tattoos.
Jack studies it. There are words like “cautionary,” “risks,” “lawsuit,” and other forms of legalese that Jack knows nothing about. “What’s it for?”
“It’s just to protect against anything that we could possibly be sued for. You know, legal issues. You’ve heard about people suing because their coffee was too hot, right? Same deal.”
Jack signs it, trusting in Kevin’s skill and the establishment itself. He knows the horror stories.
“Thanks, man. We’ll take you into the back room and get you all set up. Wait here.” Kevin moves from behind the counter and disappears into the back of the parlor.
Jack waits. A couple comes in: a blonde, dreadlocked woman with a bull nose ring and a bald-headed man with tattoos covering most of his scalp. Jack smiles, but they turn away from him and skulk in the corner.
He imagines this man is his dad. Kevin had said that tattoos change a person; maybe they also make them look younger, leaner, and more threatening. He knows it’s not possible, because the bald-headed man is much too short to be his father. The guy’s legs are too stubby and his knees have taken on a swelling that resembles Osgood-Schlatter disease, a problem Jason had been diagnosed with a few years ago.
Jack wonders where his father could be. He can’t make a proper identification of the bald man without seeing the rest of his tattoos.
***
“Where’s Dad?” Jack asked his mother in a wavery voice. He was freezing. His mother did not have enough money to pay for oil for the furnace this month, and they had to wrap themselves in wool blankets in the coldest part of February before the winter weather snaps to usher in March. Before, he had been able to see the yellowed grass and the leaves they didn’t have time to rake, but the snow had fallen again in great big tufts like bubbles and covered every hope of spring. They were left to wait out the winter as bears do, except without the gratification of hibernation.
“Who knows.” She lit a cigarette.
“Where did you get those?”
“Your coat pocket.”
“You don’t smoke.”
“I know.”
He paused for a moment, thinking she would say more. When nothing came, he said, “If you’re going to, can I have one?”
“They’re yours.” She offered the pack. Jack took two, one for now and one for later if his mother decided to smoke them all.
“So you knew I smoked?”
“I didn’t until I started looking.”
They sat speechless for a while, watching the snow squall outside with their glowing cigarettes. The quiet was unbearable. The worst part of the winter was the noise of silence.
“Why does he go? Why won’t he stay?”
These were questions he knew she couldn’t answer. And why did he ask them? To hurt her. As if everything was her fault. Jack could even blame the house, with its caved-in walls and the hole behind the refrigerator which was kicked in by Jess in a drunken rage. Maybe it was the washer that did it, the final straw, when it broke down on him doing the laundry. Maybe his father was forever washing his clothes in an apartment building.
She didn’t answer, just blew her smoke into the air and sighed. “Have I told you a story about your father?”
“I don’t know.” The wind rattled the windows and his mother pulled her bulky sweater closer to her.
“We had been dating for a while. It was summer, and we were bored. Your father was working as a gas station clerk while I spent most of the days working on your grandfather’s garden.”
“The dead one?”
“It wasn’t dead then.” She took a puff and then put the cigarette out. “Your grandfather would kill me if he saw me smoking with you. Anyway, we decided to take a vacation. Your father wanted to get out of his job anyway, so when the boss wouldn’t give him time off, he quit and spit in the guy’s face. He could never find a gas job again, that’s for sure.
“I can’t even remember where we went. Most of the trip was us driving, us fighting, and us making up in the hotel room.”
“Mom.”
“Yeah. But we did have one experience I’ll never forget. It was stupid and my idea. I said we should get matching tattoos. And we did, too, right on our shoulders.” His mother pulled her sweater sleeve up, revealing a bee tattoo that resembled less the insect than a wrinkled green grape. She snickered sarcastically. “A clichéd way to show we’d always be together, like the fucking movies.”
Jack had never seen his mother this way but knew the emotions running through his mother were similar to Jess at her worst. He let her finish.
“Now look at it. It barely looks like a bee. Did you know? Your father tried to have his removed so when he fucks his whores, he can’t feel as guilty. This is old age, Jack.”
“You’re not that old, Mom. Things can change. Things will change.”
“Look at it.” She fingered her tattoo. “This is old age. This has become the sign that everything I worked so hard for in my life can be summed up as the best and worst part of my life. And now you know why I don’t want you to get your tattoo. You’re young enough where you don’t realize that what you felt so sure of before will change; there will be nothing but a scar to remind you of the mistake.”
“Who knows.” She lit a cigarette.
“Where did you get those?”
“Your coat pocket.”
“You don’t smoke.”
“I know.”
He paused for a moment, thinking she would say more. When nothing came, he said, “If you’re going to, can I have one?”
“They’re yours.” She offered the pack. Jack took two, one for now and one for later if his mother decided to smoke them all.
“So you knew I smoked?”
“I didn’t until I started looking.”
They sat speechless for a while, watching the snow squall outside with their glowing cigarettes. The quiet was unbearable. The worst part of the winter was the noise of silence.
“Why does he go? Why won’t he stay?”
These were questions he knew she couldn’t answer. And why did he ask them? To hurt her. As if everything was her fault. Jack could even blame the house, with its caved-in walls and the hole behind the refrigerator which was kicked in by Jess in a drunken rage. Maybe it was the washer that did it, the final straw, when it broke down on him doing the laundry. Maybe his father was forever washing his clothes in an apartment building.
She didn’t answer, just blew her smoke into the air and sighed. “Have I told you a story about your father?”
“I don’t know.” The wind rattled the windows and his mother pulled her bulky sweater closer to her.
“We had been dating for a while. It was summer, and we were bored. Your father was working as a gas station clerk while I spent most of the days working on your grandfather’s garden.”
“The dead one?”
“It wasn’t dead then.” She took a puff and then put the cigarette out. “Your grandfather would kill me if he saw me smoking with you. Anyway, we decided to take a vacation. Your father wanted to get out of his job anyway, so when the boss wouldn’t give him time off, he quit and spit in the guy’s face. He could never find a gas job again, that’s for sure.
“I can’t even remember where we went. Most of the trip was us driving, us fighting, and us making up in the hotel room.”
“Mom.”
“Yeah. But we did have one experience I’ll never forget. It was stupid and my idea. I said we should get matching tattoos. And we did, too, right on our shoulders.” His mother pulled her sweater sleeve up, revealing a bee tattoo that resembled less the insect than a wrinkled green grape. She snickered sarcastically. “A clichéd way to show we’d always be together, like the fucking movies.”
Jack had never seen his mother this way but knew the emotions running through his mother were similar to Jess at her worst. He let her finish.
“Now look at it. It barely looks like a bee. Did you know? Your father tried to have his removed so when he fucks his whores, he can’t feel as guilty. This is old age, Jack.”
“You’re not that old, Mom. Things can change. Things will change.”
“Look at it.” She fingered her tattoo. “This is old age. This has become the sign that everything I worked so hard for in my life can be summed up as the best and worst part of my life. And now you know why I don’t want you to get your tattoo. You’re young enough where you don’t realize that what you felt so sure of before will change; there will be nothing but a scar to remind you of the mistake.”
***
Everything seems louder in the tattoo room. Jack hears the wrappers on the needles being stripped off; he imagines the sound as teeth ripping skin.
The air smells clean and sterile. The walls are white and uncovered; it is so much starker than the waiting room that Jack feels blinded.
Kevin looks at him. “Heightened sensory perception. It happens to a lot of people right before or right after.”
“Uncomfortable.”
“Hm.” Kevin is no more interested in Jack than any other patient. He is too busy readying equipment for the tattoo.
The air smells clean and sterile. The walls are white and uncovered; it is so much starker than the waiting room that Jack feels blinded.
Kevin looks at him. “Heightened sensory perception. It happens to a lot of people right before or right after.”
“Uncomfortable.”
“Hm.” Kevin is no more interested in Jack than any other patient. He is too busy readying equipment for the tattoo.
***
In May, Jack’s father had still not come home, and Jess found that hers could never come home again. The buds had started to bloom into fine young flowers, the bees had begun to harvest their honey, and death seemed too far off to be real for either of them.
“What is it like?”
“What is what like?”
“Your father being gone.”
“I’ve gotten used to it.”
“I mean, what is it like to know that he’s still alive and just not in your life?”
Jack was again at a loss for words. He realized that the passing of Jess’ father was probably the end of their relationship together and still couldn’t pull words from his tongue.
“I mean, can it ever really feel the same? As death, I mean?”
“Probably not. Are you asking me which is shittier?”
“Sort of.” Jess lit a cigarette and offered one to Jack, who declined. “Because this feels pretty goddam shitty.”
“I don’t know. My father isn’t dead.”
“Maybe that’s the worst then, right? Knowing he’s alive and that you could be with him if he didn’t hate you so much?” She started sobbing, and Jack held her with one arm, the other balled into a fist.
When Jess got into her dad’s beat-up Sedan – now her Sedan – Jack waved to her for the last time. She had done nothing for him. The connection that they had made was linked to Jess’ father, not his, and now that it was broken, there was nothing Jess could do. She had her own mourning to deal with.
“What is it like?”
“What is what like?”
“Your father being gone.”
“I’ve gotten used to it.”
“I mean, what is it like to know that he’s still alive and just not in your life?”
Jack was again at a loss for words. He realized that the passing of Jess’ father was probably the end of their relationship together and still couldn’t pull words from his tongue.
“I mean, can it ever really feel the same? As death, I mean?”
“Probably not. Are you asking me which is shittier?”
“Sort of.” Jess lit a cigarette and offered one to Jack, who declined. “Because this feels pretty goddam shitty.”
“I don’t know. My father isn’t dead.”
“Maybe that’s the worst then, right? Knowing he’s alive and that you could be with him if he didn’t hate you so much?” She started sobbing, and Jack held her with one arm, the other balled into a fist.
When Jess got into her dad’s beat-up Sedan – now her Sedan – Jack waved to her for the last time. She had done nothing for him. The connection that they had made was linked to Jess’ father, not his, and now that it was broken, there was nothing Jess could do. She had her own mourning to deal with.
She hadn’t meant what she said, but he couldn’t help but picture her father shriveled and lifeless. Then it was his father. They were the same, in the end – death and abandonment. It was just that in one, you had a choice.
***
“Who are we?” Jack asks. He is sitting in a cushioned reclining chair that has just been wiped down with lemon-scented disinfectant. Kevin is standing over him, almost ready to begin the procedure.
“Man, that’s a pretty philosophical question to be asking a lowly tattoo artist.”
“Yeah.”
“We are who we think we are. The funny part of everything is that our society tries to stop us from recognizing who we are; we constantly have to change our individuality to fit with someone else. By the time we figure out who we are, we aren’t that person anymore. It’s who we were.” Kevin pauses. “That’s my take on it, anyway. What’s yours?”
Jack leans back in the chair. It seems as though he has shared a personal moment with Kevin, one that has passed in the space of here and now and never again. He reciprocates the sentiment: “The same.”
Kevin’s expression drops, noticeably in his mouth, where little wrinkles form at the corners. Jack recognizes these tells, just as an expert poker player reads a bluff. It was his last chance to elevate this chance encounter above mere customer service, and he has failed.
He supposes it’s time to get it over with, then.
“Why a bee tattoo?” Kevin asks conversationally, like small-talk in a hair salon, as he presses the tattoo gun to Jack’s skin. But Jack is no longer listening; he is lost in a connection of his mind, wandering from person to person, the bird in the children’s book Are You my Mother.
The needles press into his skin, beginning their outline of the bee that will forever mar his skin. There is no pain; he barely recognizes that it is his arm that is being mined for blood. He pretends it is a temporary tattoo, one he can smear and smudge after a hot shower. As he looks down, he sees his mother’s arm, his father’s; he sees Jess’ father’s withered arm, even though it is only real in his mind, and wonders if they could have been friends, shared bonding moments; he sees the bee tattoo the same as if he was noticing a single blade of grass.
It is a scar; it is a compass, the North Star. It means nothing. It means everything.
“Man, that’s a pretty philosophical question to be asking a lowly tattoo artist.”
“Yeah.”
“We are who we think we are. The funny part of everything is that our society tries to stop us from recognizing who we are; we constantly have to change our individuality to fit with someone else. By the time we figure out who we are, we aren’t that person anymore. It’s who we were.” Kevin pauses. “That’s my take on it, anyway. What’s yours?”
Jack leans back in the chair. It seems as though he has shared a personal moment with Kevin, one that has passed in the space of here and now and never again. He reciprocates the sentiment: “The same.”
Kevin’s expression drops, noticeably in his mouth, where little wrinkles form at the corners. Jack recognizes these tells, just as an expert poker player reads a bluff. It was his last chance to elevate this chance encounter above mere customer service, and he has failed.
He supposes it’s time to get it over with, then.
“Why a bee tattoo?” Kevin asks conversationally, like small-talk in a hair salon, as he presses the tattoo gun to Jack’s skin. But Jack is no longer listening; he is lost in a connection of his mind, wandering from person to person, the bird in the children’s book Are You my Mother.
The needles press into his skin, beginning their outline of the bee that will forever mar his skin. There is no pain; he barely recognizes that it is his arm that is being mined for blood. He pretends it is a temporary tattoo, one he can smear and smudge after a hot shower. As he looks down, he sees his mother’s arm, his father’s; he sees Jess’ father’s withered arm, even though it is only real in his mind, and wonders if they could have been friends, shared bonding moments; he sees the bee tattoo the same as if he was noticing a single blade of grass.
It is a scar; it is a compass, the North Star. It means nothing. It means everything.
Saturday, February 13, 2010
Moon Minis - Dear John
So you're looking for a little romance, see Dear John is a movie adapted from a Nicholas Sparks book (perhaps you've seen The Notebook and loved it), and decide that it'll be an intimate way to spend 90 minutes. In a way, you'd be right, as Dear John does have its share of sob moments and romantic, too-good-to-be-true scenes. But it might feel just a bit too familiar.
The plotting of the film is so similar to The Notebook that one might be able predict Dear John from the opening scenes. Unfortunately, the techniques that made that movie more endearing are either lacking or staler in this film. Channing Tatum feels awkward throughout the film; he's either very withdrawn or just out of place in the film's story, and his lack of personality takes the viewer out of a film that is by its very title supposed to be centered around him. The passion between Tatum and Amanda Seyfried is questionable, at times fairly natural and others off-balance.
The film also carries on a little too long; what started out as an almost too fast-paced of a film becomes stretched out by "getting the girl." A stunning scene between John and his father is detracted from slightly by the incorporation of a man with cancer, and the execution almost seems as though the film wanted to hit the audience with more sad sequences.
But Dear John does have its share of memorable moments; for most of the film, I was willing to go along with John and Savannah's ups and downs. It's also a nice movie to take your sweetie to - but fans of The Notebook might be disappointed at the lack of substance.
Thursday, February 11, 2010
Graphic Novel Review - The Chill by Jason Starr & Mick Bertilorenzi
The Chill
Jason Starr plays around with Druidic rituals in this crime drama, where cops are having an especially hard time catching a serial killer who seems to be an old woman luring men to their death. They soon learn that the grisly ways they find the body tie to Druidic worship and ever-lasting life, but their search is swayed by their own imaginations and their unwillingness to believe in a power higher than humanity.
Starr works with a fairly original plot, combining supernatural elements and cop investigations together for a slightly different take on crime drama. The Druidic elements are interesting; Starr weaves a tale of a Druidic ritual where women are born with an ability called the Chill, a sexual way of ritual sacrifice in the early years of Druidism. The Chill has been corrupted by Cormac Flaherty, though, who uses his daughter Arlana's abilities to remain youthful. The story is entertaining throughout, as both the cops and a former acquaintance with the murderers, Martin Cleary, search out the suspects and try to bring the killers to justice.
But there are a few slight problems with Starr's novel. Most of the characters feel rather two-dimensional, especially all of the secondary characters, who would much rather get a lay with a hot chick than use their heads for one second. Motivations are scarce for most of the characters; all of the victims are unbelievably tool-like frat heads, which isn't as hard to imagine as one might think - otherwise, Arlana wouldn't have too many men to kill. Yet even Joe Pavano, our main cop, has slight falterings as an investigator, falling for Arlana's woos as she pretends to be his wife to try and get him in the sack. It doesn't really make sense: Joe has heard before that the killer takes the shape of beautiful women before she kills, and one would think he'd be on the highest of alerts when his wife comes onto him with such ferocity.
There's also the level of sex and nudity in The Chill. Though sex is a large part of the plot, Starr uses quite a lot of it gratuitously in each murder scene, making the reader practically immune to it after the first few pages. I'm not saying that sex and nudity is wrong and that it shouldn't be used in the graphic novel; in fact, I think it could have been particularly effective in choice sequences in the novel. But it's used a bit too much too often, and instead of creating tense situations with the right amount of nudity, it almost comes off as a ploy to attract readers because of its edgy-ness.
Overall, though, Mick Bertilorenzi's art looks great, and he chooses experimental shots to show the characters from different perspectives that work well together. The violence is nicely detailed, most notably a gruesome shot of a dead man who fell from the top of a building.
The Chill is good as a crime graphic novel, but its tendency to focus more on sex and the reliance on weak characters to advance the plot can get a little tiresome. It's got an interesting story, but its handicapped by problems that are hard to overlook at times.
Jason Starr plays around with Druidic rituals in this crime drama, where cops are having an especially hard time catching a serial killer who seems to be an old woman luring men to their death. They soon learn that the grisly ways they find the body tie to Druidic worship and ever-lasting life, but their search is swayed by their own imaginations and their unwillingness to believe in a power higher than humanity.
Starr works with a fairly original plot, combining supernatural elements and cop investigations together for a slightly different take on crime drama. The Druidic elements are interesting; Starr weaves a tale of a Druidic ritual where women are born with an ability called the Chill, a sexual way of ritual sacrifice in the early years of Druidism. The Chill has been corrupted by Cormac Flaherty, though, who uses his daughter Arlana's abilities to remain youthful. The story is entertaining throughout, as both the cops and a former acquaintance with the murderers, Martin Cleary, search out the suspects and try to bring the killers to justice.
But there are a few slight problems with Starr's novel. Most of the characters feel rather two-dimensional, especially all of the secondary characters, who would much rather get a lay with a hot chick than use their heads for one second. Motivations are scarce for most of the characters; all of the victims are unbelievably tool-like frat heads, which isn't as hard to imagine as one might think - otherwise, Arlana wouldn't have too many men to kill. Yet even Joe Pavano, our main cop, has slight falterings as an investigator, falling for Arlana's woos as she pretends to be his wife to try and get him in the sack. It doesn't really make sense: Joe has heard before that the killer takes the shape of beautiful women before she kills, and one would think he'd be on the highest of alerts when his wife comes onto him with such ferocity.
There's also the level of sex and nudity in The Chill. Though sex is a large part of the plot, Starr uses quite a lot of it gratuitously in each murder scene, making the reader practically immune to it after the first few pages. I'm not saying that sex and nudity is wrong and that it shouldn't be used in the graphic novel; in fact, I think it could have been particularly effective in choice sequences in the novel. But it's used a bit too much too often, and instead of creating tense situations with the right amount of nudity, it almost comes off as a ploy to attract readers because of its edgy-ness.
Overall, though, Mick Bertilorenzi's art looks great, and he chooses experimental shots to show the characters from different perspectives that work well together. The violence is nicely detailed, most notably a gruesome shot of a dead man who fell from the top of a building.
The Chill is good as a crime graphic novel, but its tendency to focus more on sex and the reliance on weak characters to advance the plot can get a little tiresome. It's got an interesting story, but its handicapped by problems that are hard to overlook at times.
Wednesday, February 10, 2010
Votes/Ghost story submissions
Still looking for votes on the next film I should review - anything goes!
And, if you have any real ghost encounters you'd like to write about, feel free to let me know and I'll schedule a date for your post, and link back to your blog.
Will be working on a review for The Chill and two film shorts very soon. Snow day today!
And, if you have any real ghost encounters you'd like to write about, feel free to let me know and I'll schedule a date for your post, and link back to your blog.
Will be working on a review for The Chill and two film shorts very soon. Snow day today!
Monday, February 8, 2010
Book Review - The Haunting of Hill House by Shirley Jackson
The Haunting of Hill House
Stephen King wrote a section devoted to The Haunting of Hill House in his non-fiction book Danse Macabre, detailing the innovative and spooky qualities that Shirley Jackson uses right from the beginning of the novel to show just how evil the house really looks. Of course it's not so surprising that King would highlight Jackson's novel as inspirational material; his screenplay and TV movie Rose Red, along with certain sections of The Shining, all seem heavily derived from material that Jackson uses in Hill House.
I think it's not too farfetched to say that Hill House is a successful ghost story, but in a review it's helpful to highlight just what Jackson does right for the horror genre. The first thing that comes to mind is that Hill House is not a blatant ghost story - items don't fly off the shelves in front of everyone's eyes, nor do ghosts necessarily materialize out of thin air to scare the reader externally. Instead, Jackson is much more aware of the need for minimal knowledge; she plants the seed of the hauntings without dwelling on them.
This is the case through much of the novel, as Jackson is more inclined to explore relationships with characters, especially Eleanor, and their take on the extremities of Hill House. For the first twenty pages or so, Eleanor has not even reached Hill House. Still, Eleanor does enough wondering about Hill House to set the reader up for the shock of the place once we get there. The four major characters of the group that stays in Hill House are uniquely different, and juxtapose very nicely from the uncomfortable Eleanor.
For Eleanor, as we soon learn, is quite a weak girl, broken in part from her household and looking to get away from the life she knows in favor of a less self-conscious woman. Throughout the novel, Eleanor lies, trying to create a life for herself where she feels wanted. It's saddening, but it can also get a tad annoying, especially when Eleanor is so inclined to abuse herself mentally. However, it is necessary for the plot, as Jackson explores Eleanor's psyche so well that at times the reader is very conflicted about the events that actually "happen" in the story.
This is the real meat and potatoes of Jackson's novel. Almost all of the supernatural events are frightening as they happen, and in the heat of the moment the reader accepts (and is not forced) to believe what Eleanor is describing. It is only after that Jackson, in fantastic prose, makes us suspicious of Eleanor's reality. As the story progresses, the reader is forced to question Eleanor's thoughts more and more, as each instance becomes ever more suspect to Eleanor's unraveling mental stability. By the end, we're left wondering what actually happened, the same mystery that the story prefaces us with in the beginning: "whatever walked [in Hill House], walked alone."
It's suspenseful stuff, really. One cannot say that the house did not have something to do with it; perhaps its architecture is simply maddening; maybe Eleanor was pushed to the edge after a series of real supernatural phenomena; maybe Eleanor was just crazy. Whatever the actual answer is will never be answered, and that is the success of the book; it makes haunted houses scarier than the dead, because just maybe they can corrupt the living.
Stephen King wrote a section devoted to The Haunting of Hill House in his non-fiction book Danse Macabre, detailing the innovative and spooky qualities that Shirley Jackson uses right from the beginning of the novel to show just how evil the house really looks. Of course it's not so surprising that King would highlight Jackson's novel as inspirational material; his screenplay and TV movie Rose Red, along with certain sections of The Shining, all seem heavily derived from material that Jackson uses in Hill House.
I think it's not too farfetched to say that Hill House is a successful ghost story, but in a review it's helpful to highlight just what Jackson does right for the horror genre. The first thing that comes to mind is that Hill House is not a blatant ghost story - items don't fly off the shelves in front of everyone's eyes, nor do ghosts necessarily materialize out of thin air to scare the reader externally. Instead, Jackson is much more aware of the need for minimal knowledge; she plants the seed of the hauntings without dwelling on them.
This is the case through much of the novel, as Jackson is more inclined to explore relationships with characters, especially Eleanor, and their take on the extremities of Hill House. For the first twenty pages or so, Eleanor has not even reached Hill House. Still, Eleanor does enough wondering about Hill House to set the reader up for the shock of the place once we get there. The four major characters of the group that stays in Hill House are uniquely different, and juxtapose very nicely from the uncomfortable Eleanor.
For Eleanor, as we soon learn, is quite a weak girl, broken in part from her household and looking to get away from the life she knows in favor of a less self-conscious woman. Throughout the novel, Eleanor lies, trying to create a life for herself where she feels wanted. It's saddening, but it can also get a tad annoying, especially when Eleanor is so inclined to abuse herself mentally. However, it is necessary for the plot, as Jackson explores Eleanor's psyche so well that at times the reader is very conflicted about the events that actually "happen" in the story.
This is the real meat and potatoes of Jackson's novel. Almost all of the supernatural events are frightening as they happen, and in the heat of the moment the reader accepts (and is not forced) to believe what Eleanor is describing. It is only after that Jackson, in fantastic prose, makes us suspicious of Eleanor's reality. As the story progresses, the reader is forced to question Eleanor's thoughts more and more, as each instance becomes ever more suspect to Eleanor's unraveling mental stability. By the end, we're left wondering what actually happened, the same mystery that the story prefaces us with in the beginning: "whatever walked [in Hill House], walked alone."
It's suspenseful stuff, really. One cannot say that the house did not have something to do with it; perhaps its architecture is simply maddening; maybe Eleanor was pushed to the edge after a series of real supernatural phenomena; maybe Eleanor was just crazy. Whatever the actual answer is will never be answered, and that is the success of the book; it makes haunted houses scarier than the dead, because just maybe they can corrupt the living.
Sunday, February 7, 2010
Moon Minis - Milk (2008)
Milk
A daring role for Sean Penn in Milk elevates this film, with a heartfelt portrayal of the gay movement in the late '70s to gain gay rights in California. The film doesn't shy away from images that might make the viewer feel uncomfortable, showcasing just how much America's views on gay rights have changed from the bigotry of Harvey Milk's time. It's a brave showing; there is still a lack of acceptance of these scenarios, and it's refreshing to see a film that's feels no shame in the subject matter. It's heartwarming to see Milk as a man dedicated to the rights that all gay people deserve, but it's not without the sadness and despair that pushed Milk to fight so hard.
It's a touching film with great pacing, and it becomes hard to watch with the unacceptable bigotry that went on in the 1970s; this is, though, not to mention the fact that Josh Brolin gives an excellent performance as Dan White, which is easy to overlook because of the fact that he is just so easy to hate in the film. Milk may be engineered to stand as a dramatic film, but the details within are essential knowledge in a time where acceptance of other classes, races, and gender roles is still not high enough.
Milk on Rotten Tomatoes
A daring role for Sean Penn in Milk elevates this film, with a heartfelt portrayal of the gay movement in the late '70s to gain gay rights in California. The film doesn't shy away from images that might make the viewer feel uncomfortable, showcasing just how much America's views on gay rights have changed from the bigotry of Harvey Milk's time. It's a brave showing; there is still a lack of acceptance of these scenarios, and it's refreshing to see a film that's feels no shame in the subject matter. It's heartwarming to see Milk as a man dedicated to the rights that all gay people deserve, but it's not without the sadness and despair that pushed Milk to fight so hard.
It's a touching film with great pacing, and it becomes hard to watch with the unacceptable bigotry that went on in the 1970s; this is, though, not to mention the fact that Josh Brolin gives an excellent performance as Dan White, which is easy to overlook because of the fact that he is just so easy to hate in the film. Milk may be engineered to stand as a dramatic film, but the details within are essential knowledge in a time where acceptance of other classes, races, and gender roles is still not high enough.
Milk on Rotten Tomatoes
Friday, February 5, 2010
Remember
I'm still looking for movie review requests - send 'em in now!
***
I want to start a column that features reader ghost stories. These would obviously need to be real encounters (but there's no way that I could know if they weren't unless they were very far-fetched). If you have anything you'd like to write up, let me know and I could schedule a day for your post. It would be a great way to get your name and blog out there too, as I would link back to you, of course.
Let me know!
***
I want to start a column that features reader ghost stories. These would obviously need to be real encounters (but there's no way that I could know if they weren't unless they were very far-fetched). If you have anything you'd like to write up, let me know and I could schedule a day for your post. It would be a great way to get your name and blog out there too, as I would link back to you, of course.
Let me know!
Thursday, February 4, 2010
Moon Minis - Bringing Up Baby
Bringing Up Baby
Hagar Wilde co-writes her own adaptation of a short story where man and woman come together over a leopard in this very funny 1938 screwball comedy directed by Howard Hawks. Cary Grant and Katherine Hepburn star as two hair-brained individuals who get caught up in each other after Grant is roped into taking care of Hepburn's leopards. The two have an excellent on-screen chemistry, and both deliver their lines with comedic timing that works perfectly.
The film is consistently reliable on physical comedy, and most of the sight gags are hysterical. The film hangs on a little bit too long in the end, in a jail scene that is much less funny after an hour and a half of similar slapstick comedy than it might have been earlier in the film, and the film's absurd situational additions tend to come back to bite it when it takes them so long to clear the problem up. But Hepburn and Grant carry the film well, especially with their antics and endearing charms, and to be quite honest, Bringing Up Baby is one of the funnier films I've seen in quite a while, even with its childish reliance on trips and falls. Perhaps that's one of the reasons why it's so likable.
Bringing Up Baby on Rotten Tomatoes
Hagar Wilde co-writes her own adaptation of a short story where man and woman come together over a leopard in this very funny 1938 screwball comedy directed by Howard Hawks. Cary Grant and Katherine Hepburn star as two hair-brained individuals who get caught up in each other after Grant is roped into taking care of Hepburn's leopards. The two have an excellent on-screen chemistry, and both deliver their lines with comedic timing that works perfectly.
The film is consistently reliable on physical comedy, and most of the sight gags are hysterical. The film hangs on a little bit too long in the end, in a jail scene that is much less funny after an hour and a half of similar slapstick comedy than it might have been earlier in the film, and the film's absurd situational additions tend to come back to bite it when it takes them so long to clear the problem up. But Hepburn and Grant carry the film well, especially with their antics and endearing charms, and to be quite honest, Bringing Up Baby is one of the funnier films I've seen in quite a while, even with its childish reliance on trips and falls. Perhaps that's one of the reasons why it's so likable.
Bringing Up Baby on Rotten Tomatoes
Wednesday, February 3, 2010
Pick that film!
I'm certain that it's time for another reader pick-a-film review! I still have a few short films to review, plus a graphic novel, but I'm going to put out a request for write-ins on what film I should watch and review in the near future.
I'm open to just about whatever you want to throw at me. Maybe it's a really terrible movie, a black-and-white classic, an indie pick you feel is really worth the watch, or even an exploitation film sure to gross out or disturb. Whatever it is, let me know in a vote! I'll give a tentative deadline date for February 21, and I'll keep posting updates for those who might forget.
Voting starts now!
I'm open to just about whatever you want to throw at me. Maybe it's a really terrible movie, a black-and-white classic, an indie pick you feel is really worth the watch, or even an exploitation film sure to gross out or disturb. Whatever it is, let me know in a vote! I'll give a tentative deadline date for February 21, and I'll keep posting updates for those who might forget.
Voting starts now!
Tuesday, February 2, 2010
Book Review - Breathless by Dean Koontz
Breathless
You might remember how I urged Dean Koontz to take a more experimental bent in my review of Relentless last year. It seems that Koontz was up for the challenge with his latest book, attempting to relinquish his grasp on suspense stories dealing with serial killers and focusing on a tale built upon science and entities who miraculously appear on Earth.
Koontz uses multiple characters to weave his story into a whole that's centered on the appearance of these new creatures (seemingly divinely created). Unfortunately, most of the story lines have very little to do with the main subject of Breathless, and when they do manage to converge at the end of the novel, they feel more like diversions from Koontz's more interesting, and ultimately more important, story. In fact, whereas most of Breathless remains a jaunt away from Koontz's natural writing style, he falls into ruts by including paint-by-numbers serial killers that only act as filler.
Not only do some of the characters feel forced and unnecessary, their motivations or actions early on in the story have no bearing to the final outcome of the novel. Take Lamar Woolsey, for instance, a chaos theorist who, at the start of the novel, is busy winning money at card tables and giving it away to complete strangers. It's a great concept, and one that had me hooked - until I soon found that this characterization wasn't much more than a way to get Woolsey from point A to point B, soon forgetting about whoever the guy was before the "event" began.
Unfortunately, everyone feels like a caricature, and the book is so short that the storyline barely starts before it ends. The creatures miraculously appear; everyone notices, observes them; National Security investigates; and then it's over! The title does honestly give a sense of what happens, because the pacing is breathless here - the problem is, everything is rushed too fast and by the time we finish, things just don't add up.
While Koontz's idea is an interesting one, it's interspersed with too much other stuff to generate a reaction. It's a shame that Koontz didn't explore a few of these concepts on their own instead of trying to pack them into one book. It was a good experiment, and on its own the spontaneously generated creatures add a good element of wonder, but it seems Koontz couldn't sustain it on its own and had to fall back on other ideas in a piecemeal attempt that doesn't feel like it combined right.
You might remember how I urged Dean Koontz to take a more experimental bent in my review of Relentless last year. It seems that Koontz was up for the challenge with his latest book, attempting to relinquish his grasp on suspense stories dealing with serial killers and focusing on a tale built upon science and entities who miraculously appear on Earth.
Koontz uses multiple characters to weave his story into a whole that's centered on the appearance of these new creatures (seemingly divinely created). Unfortunately, most of the story lines have very little to do with the main subject of Breathless, and when they do manage to converge at the end of the novel, they feel more like diversions from Koontz's more interesting, and ultimately more important, story. In fact, whereas most of Breathless remains a jaunt away from Koontz's natural writing style, he falls into ruts by including paint-by-numbers serial killers that only act as filler.
Not only do some of the characters feel forced and unnecessary, their motivations or actions early on in the story have no bearing to the final outcome of the novel. Take Lamar Woolsey, for instance, a chaos theorist who, at the start of the novel, is busy winning money at card tables and giving it away to complete strangers. It's a great concept, and one that had me hooked - until I soon found that this characterization wasn't much more than a way to get Woolsey from point A to point B, soon forgetting about whoever the guy was before the "event" began.
Unfortunately, everyone feels like a caricature, and the book is so short that the storyline barely starts before it ends. The creatures miraculously appear; everyone notices, observes them; National Security investigates; and then it's over! The title does honestly give a sense of what happens, because the pacing is breathless here - the problem is, everything is rushed too fast and by the time we finish, things just don't add up.
While Koontz's idea is an interesting one, it's interspersed with too much other stuff to generate a reaction. It's a shame that Koontz didn't explore a few of these concepts on their own instead of trying to pack them into one book. It was a good experiment, and on its own the spontaneously generated creatures add a good element of wonder, but it seems Koontz couldn't sustain it on its own and had to fall back on other ideas in a piecemeal attempt that doesn't feel like it combined right.
Monday, February 1, 2010
Movie Review - Double Indemnity (1944)
Double Indemnity
Billy Wilder's 1944 adaptation of James M. Cain's influential book seems to be the quintessential idea of film noir. Retaining all of the dark tones and lightning quick dialogue while pulling in Fred MacMurray to hold the lead role, Wilder crafts a movie full of psychological drama that manages to split off from the novel to land its own creative blows as a taut, thrilling movie.
The film remains fairly faithful to Cain's book, rarely adding or deleting scenes. Instead, Wilder uses the most effective scenes from Cain's novel and gives them room to breathe, allowing MacMurray and Barbara Stanwyck to use their romantic appeal to hook the viewer. Stanwyck puts on a great performance in a fairly challenging role; her character, while weak in the opening stages of the film, becomes more sinister and dirty as the film moves ahead, and Stanwyck's body language shifts in the latter part of the film into one scary baby.
MacMurray, too, delivers with panache. He's a charming gent, with quick dialogue deliveries and he nails the performance in the opening and ending shots, an impressive feat when we soon find out that the emotional climax of the film rests on MacMurray's ability to move the audience.
What's certainly true of the film is that it retains Cain's handful of likable characters. MacMurray deals with a character who murders to get the money and the girl, yet he manages to find niches to fit into that the audience can't help but relate to. It's a midlife crisis of sorts. Edward G. Robinson plays Keyes, MacMurray's boss, who stands out because of his quirky, quick-witted style. Robinson has a small part, but he makes it memorable enough.
Wilder deals well with the murder and subsequent guilt-ridden actions of MacMurray's character Neff. The film moves swiftly from set-up to murder and then switches gears to the defensive. Wilder picks his shots well; he uses the darkness to his advantage, especially in the last few moments of the film when Neff plots his final murder. The poetic end is also inspiring in its staging; MacMurray and Robinson deliver a heart-wrenching scene that perhaps stands as the moment where everything falls into place for the audience while falling apart for Neff.
Even now, Double Indemnity remains a film that one simply must experience. It's difficult to explain, but one can't help but feel that after Wilder's film, crime dramas become purely derived from the emotional impact that this inky film contains.
Billy Wilder's 1944 adaptation of James M. Cain's influential book seems to be the quintessential idea of film noir. Retaining all of the dark tones and lightning quick dialogue while pulling in Fred MacMurray to hold the lead role, Wilder crafts a movie full of psychological drama that manages to split off from the novel to land its own creative blows as a taut, thrilling movie.
The film remains fairly faithful to Cain's book, rarely adding or deleting scenes. Instead, Wilder uses the most effective scenes from Cain's novel and gives them room to breathe, allowing MacMurray and Barbara Stanwyck to use their romantic appeal to hook the viewer. Stanwyck puts on a great performance in a fairly challenging role; her character, while weak in the opening stages of the film, becomes more sinister and dirty as the film moves ahead, and Stanwyck's body language shifts in the latter part of the film into one scary baby.
MacMurray, too, delivers with panache. He's a charming gent, with quick dialogue deliveries and he nails the performance in the opening and ending shots, an impressive feat when we soon find out that the emotional climax of the film rests on MacMurray's ability to move the audience.
What's certainly true of the film is that it retains Cain's handful of likable characters. MacMurray deals with a character who murders to get the money and the girl, yet he manages to find niches to fit into that the audience can't help but relate to. It's a midlife crisis of sorts. Edward G. Robinson plays Keyes, MacMurray's boss, who stands out because of his quirky, quick-witted style. Robinson has a small part, but he makes it memorable enough.
Wilder deals well with the murder and subsequent guilt-ridden actions of MacMurray's character Neff. The film moves swiftly from set-up to murder and then switches gears to the defensive. Wilder picks his shots well; he uses the darkness to his advantage, especially in the last few moments of the film when Neff plots his final murder. The poetic end is also inspiring in its staging; MacMurray and Robinson deliver a heart-wrenching scene that perhaps stands as the moment where everything falls into place for the audience while falling apart for Neff.
Even now, Double Indemnity remains a film that one simply must experience. It's difficult to explain, but one can't help but feel that after Wilder's film, crime dramas become purely derived from the emotional impact that this inky film contains.
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